I wrote this piece back in July and recorded it soon after; the 
recording is of low quality since I recorded it on an audio cassette and 
then, a few months ago, held the microphone up to my stereo speakers.  They 
are still listenable, though.
     The first MP3 above is merely a thematic guide; the five sound clips 
are Luna's song as it sounds in the game, Luna's song as I have adapted it 
for the Toccata (which essentially involves uniformising the rhythm so that 
it fits nicely into two bars of 6/8 time), and the same as I have adapted it 
for the Fugue (changing the rhythm again to make it fit more easily into 4/4 
time); this is followed by the End Credits song as it appears in the game 
and as it appears in the fugue.
     The second MP3 above is the toccata.  It's a simple enough piece, just 
built on various iterations of the main theme flowing through numerous keys 
- from E-flat major through B-flat major through F minor through F-sharp 
major through F-sharp minor through A major through D minor through F major 
through C minor through B-flat major and back to E-flat major; the second 
half of the toccata features a dialogue between the voices founded on the 
main theme that also hints at the ascending-descending figure that forms a 
countersubject in the fugue.
     The fugue is far more complex than any of the pieces in the Prelude, 
Fugue, and Chaconne; it's subdivided into seven sections.  The first section 
is founded on Luna's song as a subject, cast against an ascending-descending 
figure acting as a countersubject.  It enters in each voice twice before 
moving on to the centre section.
     This section also features the first of numerous appearances of the 
bridge passage, founded on the ascending-descending motif of the 
countersubject.  The idea is that one voice plays four consecutive notes on 
the scale, followed immediately by two more voices playing in contrary 
motion; this is repeated twice, and each time the first note has moved one 
step along the scale.  This figure appears eight or nine times, but never 
the same way twice; sometimes the lone voice enters first and sometimes the 
two voices enter first; sometimes the two voices move in towards each other 
and sometimes they move away; sometimes the lone voice is descending and 
sometimes it is ascending; sometimes the figure moves up the scale and 
sometimes it moves down the scale; sometimes the lone voice is higher than 
the twin voices, sometimes lower, sometimes in the middle.  I do not use 
each permutation but I use a different one every time.
     The second section in G major introduces the second subject, based on 
the end credits theme from Lunar:EBC.  It also features the first use of 
stretto in the piece, for the third and fourth entrances.
     Once each voice has played the second subject, the third section begins 
in which the first and second subjects enter together (though often with 
rhythmic diminution at the beginning of the entrance), and we have also 
moved from G major to C major.  The two subjects enter four times - in C 
major, F major, D minor, and A minor - before the bridge passage leads us to 
a huge shift in tone.
     The fourth and, so far, longest section is in E major and features a 
new trick - the subject enters once in each voice, but upside-down!  Once 
this has played itself out, a bridge passage leads to the subject entering 
once in each voice - backwards!  The countersubjects are inverted or 
reversed as needed for appropriate harmonisation.
     A transitory passage leads to the fifth section in B major, the 
emotional heart of the piece.  A stripped-down version of the subject, 
essentially four descending half-notes (I call them minims), enters once in 
each of the four voices before another transitory passage speeds the piece 
up again for the sixth section.
     The sixth section in A-flat major features the stripped-down version of 
the subject cast against the full version of the subject, and once again 
each voice gets each subject once.
     The seventh and final section is also the longest, and it is definitely 
my favourite.  It returns to the original home key of E-flat major and 
remains there for the rest of the piece; also, there are a grand total of 
twenty-four entrances of the first subject in the final section.  It 
features one of my favourite fugal devices - stretto, the introduction of 
the subject in a second voice before it has completed its statement in the 
first voice.  This is first performed on the upright subject in E-flat 
major, then on the inverted subject in B-flat major.
     But then things get complicated.  The subject enters right way up in 
the tenor over the countersubject in the bass, while the soprano plays the 
subject at half-speed in a different key.  After the tenor has completed its 
statement of the subject, the alto plays the inverted subject, and finishes 
its entrance together with the soprano.
     And then the whole thing is turned upside down!  The bass plays the 
inverted subject under the tenor, playing the same thing at half-speed and 
in a different key, while the alto plays the countersubject; finally, the 
soprano enters with the subject upright once again.
     Once that has played itself, the alto enters with the subject in E-flat 
major.  One bar later, the tenor enters with the subject in E-flat major, an 
octave lower.  Another bar later, the bass enters with the subject in E-flat 
major, another octave lower.  Another bar later, the soprano completes the 
cycle with an entrance in E-flat major three octaves higher.
     But then all voices fall silent except for the soprano, which enters in 
E-flat major.  Half a bar later, the alto follows, in B-flat major.  Half a 
bar later, the tenor is added.  And half a bar later, the bass adds the 
fourth entrance of the subject in two bars.
     And then all four voices enter with the subject at the same time - the 
soprano and alto upright, the tenor and bass inverted.
     A transitory passage leads to a final slow entrance of the subject in 
E-flat major in the alto, and another slow entrance of the first subject in 
the soprano against the second subject in the alto, the countersubject in 
the tenor, and a pedal point octave E-flat in the bass.  The piece ends on a 
glowing E-flat major chord.
     I'm much prouder of this piece than I am of the Prelude, Fugue, and 
Chaconne; I only hope you deem it worthy of publication on RPGamer's music 
page.

     All best wishes,
     Matthew Smith AKA Kain Aron Highwind AKA Wings Over Dagenham
     a_pox_upon_thee@hotmail.com